EBBC Banjo Referrence & Playing Information
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SCHOOL SES Run April 23 - Jun CLASSES ADULTS TEENS PRIVATE KIDS LESSONS WORKSHOPS
LATE SPRING 2012 CLAS e 17 SCHOOL SES run April 23 - Jun CLASSES ADULTS TEENS PRIVATE KIDS LESSONS WORKSHOPS Ukefest & summer camp information inside! welcome to the CORE PROGRAMS Guitar • Ukulele • Banjo • Mandolin • Fiddle • Harmonica Our progressive Core Instrument Pro- up an accessible repertoire of songs and grams allow adults to discover (or redis- skills. Each level seamlessly progresses Julie Davis School of Music cover) music in a relaxed and fun group into the next at the same day and time. Founded in 1979, Swallow Hill Music now teaches over 4,000 adults, teens, environment. The Core Program is the The skills you’ll have after several levels kids, and pre-school students per year. We have workshops, classes, and private starting point for many people at Swallow of core classes will allow you to jump into lessons for every interest, age, and skill level – covering pop, rock, blues, jazz, Hill Music, and all Core Program classes our specialty classes or ensemble classes, bluegrass, punk, indie, roots, folk, gypsy, old-time, Irish, country, world and more. meet weekly for one hour throughout where you’ll learn to play as a band with Each session we offer more than 200 classes and workshops, and private lessons the 8-week session. your peers. for guitar, fiddle/violin, mandolin, piano, voice, harmonica, bass, banjo, ukulele, With an emphasis on Of course, private hand drums, drum kit, dobro and more. We also offer classes and workshops in actually playing, you’ll lessons are available start making music songwriting, recording, theory and musicianship. for students at any and playing songs from level to accelerate your day one. -
Newsletter July
2017 The Lake County Folk Club Newsletter july 09 16 23 30 Open Woodstock Song Concert Stage FolkFestival Circle Stage hosted by come join us there > hosted by featuring SCOTT ENGSTROM NO CLUB EVENT DAVID CALLAN JOE JENCKS CONCERT STAGE / JULY 30 EVENTS Sundays at 7PM JOE JENCKS joejencks.com NEW LOCATION! Joe Jencks is an international touring performer, song- writer, entertainer, and educator, based in Chicago. Grayslake On the stage, in the studio, or in the classroom, Heritage Center he applies conservatory training to contemporary 164 Hawley Street genres, bridging styles and techniques. Joe has Grayslake, IL won numerous songwriting awards and is also Link to Map > highly regarded as an interpreter of songs. Jencks is noted for his unique merging of complex CONCERT ADMISSION musicality, social consciousness, and spiritual explora- tion. With a lyrical voice that affirms his Celtic heritage, General $18 Joe will enchant, heal, and inspire those lucky enough to attend this very Senior $15 special performance. Members $13 Said Pete Seeger, “The key to the future is people joining in. The music of Joe Jencks captures this essential spirit. Joe is a fantastic singer who carries on Doors open at 6:00PM for all concert performances. the traditions.” * OPENING: Marcia Krieger CONCERT RESERVATIONS Opening the evening’s concert will be the always endearing Marcia Krieger, a prolific songwriter and long-standing folk club member. Gracefully accom- 847.602.8882 panying herself on guitar, Marcia’s cache of original songs is guaranteed to Please text or call before noon touch your heart and reveal the wealth of tenderness in her own. -
Kala New Product News, 6 Releases Kala Banjo
KALA NEW PRODUCT NEWS, 6 RELEASES FOR IMMEDIATE RELEASE December 1, 2012 NAMM BOOTH #5314 www.kalabrand.com [email protected] 877 853-3853 Petaluma CA KALA BANJO UKULELES NEW FOR 2013 Kala Brand Music™ Co.’s new Banjo Ukuleles will make their first appearance at NAMM in January, at booth number 5314. Kala’s banjo ukes will be available in soprano and concert sizes and are distinctively appointed with a luxuriant black satin finish, Remo Weatherking Banjo Head, deluxe geared tuners with black buttons, rosewood fingerboard, maple bridge with ebony cap, and a closed back design. The concert’s hoop diameter measures 8 inches and features antique brass hardware with a closed back design. The soprano’s hoop measures 6 inches and comes dressed in chrome with an open back design. The part numbers are KA-BNJ- BK-C (concert) and KA-BNJ-BK-S (soprano). The banjo ukulele is recognized for its distinctive tone and ability to project sound in solo and ensemble settings. The banjo ukulele was originally designed by Alvin Keech in 1917 and was popularized by musicians such as George Formby and Roy Smeck. George Harrison favored the instrument in later years and recorded his song “Any Road” on banjo uke. Established in 2005, Kala Brand Music Co. offers over 120 models of Ukulele, the Kala U-BASS, Ukadelic, and the Uke Crazy line of Ukulele accessories. Kala Brand Music Co. also distributes Aquila Strings. December 1, 2012 Press release from Kala Brand Music Co. For immediate release. KALA Adds Colors To Exotic Mahogany Series Petaluma CA Kala Brand Music Co. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Mandolin Playing in Minneapolis and St. Paul Wooden Boxes
amy kreitzer Sweet Harmonies from Little Mandolin Playing in Minneapolis and St. Paul Wooden Boxes At the close of the nineteenth century, a new and distinctive sound caught the ears of Minnesotans rang - ing from poor Italian immigrants to affluent young men. The captivating sound came from a small, eight- stringed wooden instrument called the mandolin. While modern listeners associate it with bluegrass and folk music, a hundred years ago mandolins were welcomed in the realms of classi - cal and popular music. The Albert Bellson Mandolin Quartet, late 1930s: (clockwise from lower left) Bellson and Wallace Between 1890 and 1920 , the golden Ziebarth with mandolins, Clifton Peterson with age of the mandolin, traveling concert mandocello, and Vergel Vanzora with mandola 219 artists, vaudeville performers, and A round-back Italian mandolin, advertised for $25 in a local teachers inspired thousands of P. Benson Musical Merchandise catalog, 1912 amateur musicians around the country to take up the instrument. Forming mandolin clubs, the musicians made warm, mellow sounds together for appreciative and enthusiastic listeners. As the decades Unlike violins, however, mandolin passed, orchestral ensembles, including guitars and fingerboards have metal frets, other fretted instruments, entertained listeners at large and players activate strings concerts and on the radio. By the 1940 s, however, musi - with a pick or plectrum cal tastes had changed, and amateur music making had rather than a bow. Because taken a back seat to other, more passive entertainments. the resulting sound decays The era of the mandolin drew to a close. 1 rapidly, players sustain tones While mandolin clubs thrived for a time in Minne- by a rapid up-and-down plec - sota cities including Brainerd, Stillwater, Mankato, Elk trum motion, a technique River, Spring Valley, and St. -
“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago. -
Music Trades 19270122.Pdf
". -..-. -"- .. ......~ ..... --~ Vol. LXXIII, No. 4 10 CENTS PER COpy Published at 501 Fifth Avenue, New York $3.00 PER YEAR IfIIi!::;:: ....~~. ... - . ~"'~.= PIANO MAKERS FOR OVER ONE HUNDRED YEARS --And in Toledo, the Chickering enjoys ex" cellent presentation in the well appointed warerooms. of the ]. W Greene Company. Published every Saturday by The Music Trades Company. Entered as second-class matter July 10, 1899. at the post office at New York, N. Y., under act of Marc·A 3) 1879. Copyright 1927 by THE MUSIC TRADES CO. THE MUSIC TRADES January 22, 1927 1- Full--Page Ads in Color for 1927 In The Saturday Evening Post, Liberty, American Maga."r.ine and Good Housekeeping Total circulation over seven million monthly ITH 1926 furnishing overwhelming musical merchandise. This advertising is in W proof of the public's desire for the addition to Brunswick's consistent newspaper Brunswick Panatrope, Brunswick's New advertising and Brunswick's colorful window Musical I nstrument, and Brunswick Records display service. by the" Light-Ray" electrical method (musi With such a program of advertising effort, cal photography), the Brunswick Company Brunswick dealers have the greatest sales is pleased to announce for 1927 one of the opportunity in their history. For never has most comprehensive programs of color adver any music dealer had finer merchandise than tising in leading magazines ever given any Brunswick dealers have at present. THE BRUNSWICK.BALKE.COLLENDER CO. GENERAL OFFICES: CHICAGO ~ e 'usic ~tab~9. n\tt~b! ~i\tQ1\ ~eil lEstabUSbtb 1890. 10 CENTS PER COpy VOLUME LXXIII. No.4 NEW YORK, JANUARY 22, 1927 Sl.OO PER YEAR Growth of General Music House Is Remarkable! Now Estimated That 50 PerCent of Music Merchants Operate Establishments as Music Department Stores-This Percentage Was . -
Susquehanna Folk Festival.……….…
Member Recognition.…................. We Banjo 3………….………………….Page 2 Sat, Mar 13 • A quartet of superb Irish performers presents a full-length, live-streamed concert from Resource List Dublin that showcases its exhilarating blend of Celtic, Subscribe to eNews Americana and bluegrass. Sponsor an Event Susquehanna Folk Festival.……….…..Page 3 All Summer! • This year’s celebration will be a whole new kind of music festival—three months of Executive Director Jess Hayden mostly virtual programming, including concerts, 378 Old York Road workshops, dances, storytelling, sessions, artist talks New Cumberland, PA 17070 and family events. You won’t want to miss any of it! [email protected] (717) 319-8409 Winter Coffeehouse………………...….Page 3 More information at Sun, Mar 14 • In this latest edition of our www.sfmsfolk.org popular series, join us online for a live-streamed performance of songs and tunes by local faves The Redacted Unplugged and Matt Miskie and by the heralded Roman Barten-Sherman from Arizona. Väsen-Duo………………... Page 4 Sat, Mar 27 • Two of Sweden’s most respected folk musicians bring a fresh, modern sound to their country’s rich store of traditional music via an exclusive online concert, with a conversation afterwards. Tom Paxton & The DonJuans..........…Page 5 Sat, Apr 3 • A legendary folk musician and two of the music industry’s most accomplished songwriters appear for a live-streamed concert of memorable songs, followed by an audience Q&A. SFMS members can “attend” for free! Lui Collins..........................................…Page 6 Sat, Apr 10 • A renowned New England folksinger invites us to a specially recorded concert in her home, offering multiple viewing options, including a virtual reality experience. -
Old-Time Music & Dance Week, July 21-27, 2019
JUNE 30 - AUGUST 3, 2019 AT WARREN WILSON COLLEGE, ASHEVILLE, NC The Swannanoa Gathering Warren Wilson College, PO Box 9000, Asheville, NC 28815-9000 phone/fax: (828) 298-3434 email: [email protected] • website: www.swangathering.com shipping address: The Swannanoa Gathering, 701 Warren Wilson Rd., Swannanoa, NC 28778 For college admission information contact: [email protected] or 1-800-934-3536 WARREN WILSON COLLEGE CLASS INFORMATION President Dr. Lynn M. Morton Founded in 1991, the Swannanoa Gathering is a continuing educa- Interim Vice President for Academic Affairs Dr. Paul Bartels tion program of Warren Wilson College. Interim Vice President for Administration and Finance Sena Landey Vice President for Advancement Zanne Garland The workshops take place at various sites around the Warren Wilson Vice President for Applied Learning Cathy Kramer campus and environs, (contact: [email protected] or 1-800-934-3536 Vice President for Student Life Paul Perrine for college admission information) including classrooms, Kittredge Theatre, our Bryson Gym dancehall and campus Pavilion, the campus gardens and patios, THE SWANNANOA GATHERING and our own jam session tents. Each year we offer over 150 classes. Each class Director Jim Magill is a five-day course of study.Students are free to create their own curriculum Operations Manager Puck Askew from any of the classes in any programs offered for each week. Students may list Logistics Coordinator Katie Henderson Selph a class choice and an alternate for each of our scheduled class periods, but Housing Coordinator Rebecca Bond concentration on two, or perhaps three classes is strongly recommended, and Dorm Host Molly Sawyer class selections are required for registration. -
Cathy Fink & Marcy Marxer Headline 5Th Annual
Cathy Fink & Marcy Marxer Headline 5th Annual Guitar Festival Posted by Fred.Heather On 03/07/2017 Cathy Fink & Marcy Marxer are a formidable powerhouse of sound, with a repertoire of traditional and contemporary folk, old-time country and swing music. Their superb harmonies are backed by instrumental virtuosity on the acoustic & electric guitar, five-string banjo, mandolin, cello banjo, ukulele, percussion and many other instruments. Back from a European tour with Tom Paxton, they will be coming to St. Mary’s County for the PJMA 5th Annual Guitar Festival on March 11th. (see www.pjma.info for more details) Cathy Fink was born in Maryland, but began her musical career in Canada in the early 1970s, busking and playing folk music in coffeehouses. A singer, guitarist, banjo player and yodeler, she made her recording debut in 1975 with Duck Donald, with whom she toured for five years and recorded three albums. Marcy Marxer grew up in Swartz Creek, Michigan and learned to play guitar, mandolin, hammered dulcimer and button accordion while still in high school. She went to work for General Motors but continued to play at every opportunity. In 1978, after receiving theater training at the American Academy of Dramatic Arts and the Ringling Brothers Clown College, she devoted herself to music full-time. The two met in 1980, in Toronto, Ontario, Canada, at the Mariposa Folk Festival. Marcy was playing in an all-women’s string band called “the Bosom Buddies.” Cathy was touring solo at the time. They were in a few workshops together and in the evenings back at the hotel, they gravitated to the same late night jam sessions. -
Medium of Performance for Music: Working List of Terminology
Medium of Performance for Music Working List of Terminology Revised February 2013 Terms listed here are from Library of Congress Subject Headings (LCSH). The status LCMPT indicates that the Library of Congress (LC) and the Music Library Association (MLA) have agreed that the term is eligible, if not necessarily as a main term or in the form shown in this list, for LCMPT, Library of Congress Medium of Performance Thesaurus for Music, which being developed by these two collaborators. The status LCSH means the term will not be added to LCMPT. For a complete list of medium of performance terms LC and MLA have agreed on for LCMPT, see http://www.loc.gov/catdir/cpso/medprf_lcmla.pdf. -
Fr. Ron & Friends
Fr. Ron & Friends "Bravo! A fabulous night of folk Music: music including traditional favorites as well as some terrific original songs. --Beth Arroyo-Utterback • Marie Laveau WWOZ Radio • On My Way Home Offbeat Magazine Reviews On My Way Home • Goodnight Irene This Land • Worried Man Blues Fr. Ron and Friends • Fr. Ron Clingenpeel is a versatile performer having played folk, rock, blues, jazz, Cajun, zydeco and funk. He returned to his folk roots several years ago as a way to honor the life and music of Pete Seeger, Woody Guthrie and other 20th century greats. Organizing the Great American Folk Song Singalong, the Friends are talented musicians from other genres who give a variety of voices and styles to this traditional American music. • Now, in 2019, comes a new album; original songs influenced by American folk music — On My Way Home, a tune about self realization; Marie Laveaux, the Voodoo Queen of New Orleans; Peregrinatio, a Celtic style chant; So Close a Heart, a love song; Alligator Purse, a playground jump rope lyric set to new music; Come Thou Fount, a 19th century hymn to a new tune; Hard Living Man, recalling the style of the Sons of the Pioneers; and, Refugee, a reflection on the plight of those forced to leave home and hearth because of the wars of others. • In August, Father Ron won a Bronze Award from the Global Music Awards for lyrics/songwriter: On My Way Home • The Great American Singalong has gathered energy as many have been reunited with these great songs and others have been introduced to what some consider the heart of the American soul of the 20th century.